I think it just takes so much damn time to learn enough about making music and making music sound good, that you slowly start to realize that all of that time could have been spent doing something that actually paid worth a damn. What keeps us going is the dream that we'll "make it," however unlikely it may be. No amount of compliments on my stuff can ever replace the fact that I had to have some serious delusions to ever pursue music in any capacity in the first place - even as a hobby. I keep going because I don't want to accept the fact that I've spent years learning something nearly worthless, all whilst digging myself a deeper hole. At some point you have to say fuck it, and quit. I've thought I was at that point for years now, but I haven't quit yet. Gosh, maybe this is that moment.
Just sharing some of my mixes from Fascination Street and my home studio
- Thread starter Behindert
- Start date
It's weird I see this thread cause even though I just started getting paid work I'm starting to feel the same. I'm just not having as much fun with it as I thought I would or a year ago when I would mix.
I've been producing beats for rappers and I just got my first album placement and I honestly feel I would have more fun pursuing that for a number of reasons [not to mention the potential $ wise is way better]
It really is weird to wake up one day and feel over something you've been passionate about for 5-10+ years. It's like, is this just a phase or have I been tricking myself into thinking I love to do this when in reality I'd be happier doing something else. Or maybe you just lose interest in things as you get older or do it for a long time.
I've been producing beats for rappers and I just got my first album placement and I honestly feel I would have more fun pursuing that for a number of reasons [not to mention the potential $ wise is way better]
It really is weird to wake up one day and feel over something you've been passionate about for 5-10+ years. It's like, is this just a phase or have I been tricking myself into thinking I love to do this when in reality I'd be happier doing something else. Or maybe you just lose interest in things as you get older or do it for a long time.
SwambA
Processed Chicken
Every time I tried to make money off my passion, it kill the passion and became more like a job.
Brett - K A L I S I A
Dreaded Moderator
Atheist: Oh crap.. No reason at all haha. It's downloadable now 
ze kink: I can relate to much of whay you say too. I'd say I'm more of an extrovert person too obvoiusly, if one should categorize people in to these kind of personality groups It sure is good to hear that others here do have similar thoughts, since it always feels better when someone actually can relate to ones situation. It sounds like you have a good plan regarding how to move on with things. Go with your gut feeling! I wish you all the best man and I think things will turn out great in the end what ever road you choose to travel down
Derykus: I totally agree with you man. It does take a huge amount of time to actually get somewhat good at this kind of thing. You don't get anything for free, that's for sure. About a year ago I came to an insight where I realized I've spent so much time on getting "good" (better) at this thing that I neglected my social relations, even regarding my family. It's always been things like "no sorry, I can't go see my niece's on her birthday since I have to work". These are choices I've made and it doesn't feel very good, but now I've realized that family is what matters. As you say, not even all the compliments in the world can replace certain things. Though I think most people have periods in their life when they focus more on career or what ever, for better or for worse. It's just a matter of not getting stuck.
Cacoph0ny: Funny you should mention the producing beats thing. I actually enjoy making/mixing/producing electronic music far more right now And congrats on the album placement dude!
Brett - K A L I S I A: Hehe, oh well.. I studied music production at the university here in Örebro and Jens was my teacher for one and a half years. At the end of the last semester he sent me and two other guys in my class an email where he said he was going to recruit a person who was going to handle different tasks at Fascination Street, including mastering and administrative stuff. I didn't get that job, but instead he said he wanted me to work for him doing mixing work, since he really wanted me to be a part of the FStreet team. It sure was very flattering to get hand picked like that and I could not believe my ears. I went from my bedroom straight to a top notch studio, which was a huge leap for me. It's like going straight from playing in a really shitty soccer team straight to Premier league or something like that. Not that I like soccer att all, but I think it's a fun metaphor ;P. One hell of a ride and a really big challenge, since I didn't get much training before I was put to work haha. I learned the hard way I guess
ze kink: I can relate to much of whay you say too. I'd say I'm more of an extrovert person too obvoiusly, if one should categorize people in to these kind of personality groups
It sure is good to hear that others here do have similar thoughts, since it always feels better when someone actually can relate to ones situation. It sounds like you have a good plan regarding how to move on with things. Go with your gut feeling! I wish you all the best man and I think things will turn out great in the end what ever road you choose to travel down Derykus: I totally agree with you man. It does take a huge amount of time to actually get somewhat good at this kind of thing. You don't get anything for free, that's for sure. About a year ago I came to an insight where I realized I've spent so much time on getting "good" (better) at this thing that I neglected my social relations, even regarding my family. It's always been things like "no sorry, I can't go see my niece's on her birthday since I have to work". These are choices I've made and it doesn't feel very good, but now I've realized that family is what matters. As you say, not even all the compliments in the world can replace certain things. Though I think most people have periods in their life when they focus more on career or what ever, for better or for worse. It's just a matter of not getting stuck.
Cacoph0ny: Funny you should mention the producing beats thing. I actually enjoy making/mixing/producing electronic music far more right now
And congrats on the album placement dude! Brett - K A L I S I A: Hehe, oh well.. I studied music production at the university here in Örebro and Jens was my teacher for one and a half years. At the end of the last semester he sent me and two other guys in my class an email where he said he was going to recruit a person who was going to handle different tasks at Fascination Street, including mastering and administrative stuff. I didn't get that job, but instead he said he wanted me to work for him doing mixing work, since he really wanted me to be a part of the FStreet team. It sure was very flattering to get hand picked like that and I could not believe my ears. I went from my bedroom straight to a top notch studio, which was a huge leap for me. It's like going straight from playing in a really shitty soccer team straight to Premier league or something like that. Not that I like soccer att all, but I think it's a fun metaphor ;P. One hell of a ride and a really big challenge, since I didn't get much training before I was put to work haha. I learned the hard way I guess
recemgsol: forgot about da snares! Really glad to hear you dig them Well, I guess it has a lot to do with finding samples that work very well with the natural snare. I always try so work as much as possible with the natural snare, but the samples are always there. Using several different kind of samples also helps. For instance, one can use one sample for the body, one for tone/ring, one for high end and so forth. Using room samples is also going to make your snares sound bigger and they will sit better in the mix. And don't forget to pitch the samples so they fit nicely together, since you want to avoid having too many different overtones.
That will only result in "snare tone harmonies" which can get quite nasty. Multi samples are prefered, but nowadays I find my self using a one shot sample blended with the rest of the tracks. Though as I said, it's all about finding the right samples that work nice together with each other and the natural snare. And don't be afraid to boost the midrange that carries the body in the snare (some where around 150-270 Hz or something like that, depending on the tuning), it will meat things up quite a bit if done properly! That's actually something I learned from mixing electronic music And don't forget about automating your snares, it makes a big difference and you want to avoid the horrible machine gun effect
Regarding compression I always use parallell compression for the whole drum set, but I tend to not send so much of the overheads to the smashed bus since things can get washy and out of control. It depends though, some times it works. Usually I don't compress the samples individually, sending them to the smashed parallell drum bus only usually makes them sit better together. Of course I do compress samples individually at times, but lately I've noticed that things sit better when not doing that. Same thing goes for the natural snare. And by the way, a nice compressor chain for parallell compression is V-Comp + CLA76 (blue one)! Though at Fascination Street I use a hardware Urei 1178 instead of the CLA-plugin.
Well, I guess it has a lot to do with finding samples that work very well with the natural snare. I always try so work as much as possible with the natural snare, but the samples are always there. Using several different kind of samples also helps. For instance, one can use one sample for the body, one for tone/ring, one for high end and so forth. Using room samples is also going to make your snares sound bigger and they will sit better in the mix. And don't forget to pitch the samples so they fit nicely together, since you want to avoid having too many different overtones. That will only result in "snare tone harmonies" which can get quite nasty. Multi samples are prefered, but nowadays I find my self using a one shot sample blended with the rest of the tracks. Though as I said, it's all about finding the right samples that work nice together with each other and the natural snare. And don't be afraid to boost the midrange that carries the body in the snare (some where around 150-270 Hz or something like that, depending on the tuning), it will meat things up quite a bit if done properly! That's actually something I learned from mixing electronic music
And don't forget about automating your snares, it makes a big difference and you want to avoid the horrible machine gun effect Regarding compression I always use parallell compression for the whole drum set, but I tend to not send so much of the overheads to the smashed bus since things can get washy and out of control. It depends though, some times it works. Usually I don't compress the samples individually, sending them to the smashed parallell drum bus only usually makes them sit better together. Of course I do compress samples individually at times, but lately I've noticed that things sit better when not doing that. Same thing goes for the natural snare. And by the way, a nice compressor chain for parallell compression is V-Comp + CLA76 (blue one)! Though at Fascination Street I use a hardware Urei 1178 instead of the CLA-plugin
.I know exactly what you're saying about family etc.. Been thinking these things lately also myself..
About drum parallel --> are you annihilating parallel with both comps on fast attack and fast release or maybe doing that only with V-comp and letting more shit thru (with slower A+R) with 1176?
About drum parallel --> are you annihilating parallel with both comps on fast attack and fast release or maybe doing that only with V-comp and letting more shit thru (with slower A+R) with 1176?
